影会精彩先看 | 石明策展：​《内视 · 他观——有一种生活叫大理》主题联展

《内视·他观——有一种生活叫大理》

策展语节选

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“故土难离”——“他乡故知”——毕竟在毎一个人的心目中都是不一样的。而作为一个摄影师，恰好更能把自己的这种感受，通过自己对在地的诠释，直观地反映出来。当然，或许他们面对的不是自己真正意义上的“乡愁”，但触景生情，自己对家乡、对故乡的记忆，始终会触景生情，仿佛冥冥之中注定了自我的救赎。

在此次参展的10位摄影师的作品中，我们可以看出，不论是本土摄影师，还是处于“他观”状态下外域摄影师，所表达出来的情感，何不是各自对“家乡”和“故乡”的一种诠释。对他们来说，不论是对儿时故乡的记忆，还是东西方文化的碰撞与融合，那怕是借景生情，你总能感受到一种情怀，那就是对家乡的眷恋和对故乡的思念。

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哲学家陈嘉映在为陈小波主编的《中国摄影家》写的总序中也曾说：“一个山村是一个世界，世界之为世界，不在于涵盖的面积广大。你可以从北京飞到巴黎，从巴黎飞到圣保罗，可你出出入入的，只不过是个会场，你听的说的，还是上次会议说过听过的那些话。这里也许有全球化，但没有世界。世界是我们取食于此、欢笑于此、相濡以沫于此、丧葬于此的生活整体”。在此意义上，故乡是每个人的世界中心，是每个人勘探世界的出发点，当我们不知道从何处出发，我们又如何能理解这个世界。从此参展摄影作品中，无论是“内视”，还是“他观”，无论是对家乡的情怀，还是对故乡的眷恋，至少，摄影使我们看到过去，也使我们感悟未来。不管是担忧，还是祝愿，尽管五味杂陈，历史的脚步总得向前，无法停下。

摄影就是这样的，你只要以一种人文情怀的关注方式，细心观察自己身边的人和事，你总能找到自己的切入点，而这一点恰恰是一个成熟的摄影师所必须具备的。记得我曾说过，怎样把物质属性的表象转换为一种意识形态属性层面内涵的“纸面”，传达出一种摄影师自己对观者的信息与考量。这同样是对摄影师的检验。

影像的展示并非是惟一的目的，它更多的思考恐怕就是通过展示，使摄影师与观者能形成一个思想观念的碰撞，通过这样的碰撞，以求摄影的内涵能得以延伸。

遥望远方，记住乡愁。让我们在这十位参展摄影师为观者呈现的心灵感悟的创作空间里，在观看与被观看的时空维度中，相互得到心灵的启迪与洗礼。

 Inside View Other ViewTh—ere is a Life Called Dali  

There are two Chinese sayings: “It is hard to part from one’s homeland” and “In a foreign land encountering an old friend” — at the end, we all hold different interpretations in our hearts. As a photographer, I find it easier to express these feelings visually through my local interpretations.

Of course perhaps what they are confronting may not in a true sense a yearning for their homelands, but moved by their experiences, memories of home stir just as if they are inexorably bound to self-redemption.

In the works of the eleven photographers featured in this exhibition — regardless of them being locals or them being outsiders “observing the other” — I can discern that their feelings are invariably tied to their interpretation of “Heimat”. For them, whether it is memories of their childhood homes or the collision and fusion of Eastern and Western cultures, it is the encounter with the scenery in front of their eyes that arouses emotion and I can feel the yearning for one’s hometown and the longing for one’s birthplace.

The philosopher Chen Jiaying once said in the preface to "Chinese Photographers," edited by Chen Xiaobo: "A mountain village is a world; as for a world to be a world it does not matter how large it is. You can fly from Beijing to Paris, and then to Sao Paulo, but what you are in and out of is just a series of conference venues, where you hear and say is the same as discussed in the last meeting. Perhaps that is globalization, but there is no world. The world is where we live, laugh, share our lives, and hold funerals.” In this sense, the homeland is the center of everyone's world, everyone’s starting point for exploring the world. But if we do not know where we are coming from, then how can we understand this world? From the works in this exhibition, whether through "inner vision" or "external observation," whether it is an embrace of one’s hometown or a yearning for one’s homeland, at least photography allows us to see the past and perceive the future. Regardless of it whether it is sorrow or joy, regardless of our mixed emotions, history must march forward, it cannot stop.

Photography is just like this: as long as you approach it with a humanist sentiment, carefully observing people and things around you, you will find a point of entry and that is precisely what a mature photographer must possess. I remember saying that transforming something material to its symbolic meaning on paper conveys a photographer’s message and consideration to his viewers. That is also the yardstick for a photographer.

The display of images is not the sole purpose of an exhibition; its greater purpose is perhaps through the exhibition to stimulate a collision of thoughts and concepts between photographers and viewers. Through such collisions, we can hope to extend the meaning of photography.

Let us, within this creative space where eleven photographers present their insights of careful observation, in the dimension of observing and being observed receive mutual enlightenment.

Shi Ming

July 31, 2023, 3 a.m., at home in Kunming.

弥井，隶属云南省剑川县弥沙乡弥新村委会，位于弥沙乡南面，东靠沙溪古镇马坪关自然村、南接洱源县乔后镇，是一个以白族为主的传统村落，全村有106户，共424人。

弥井，因盐的发现与开采而得名，自唐代开始即在弥井设专司经营盐业生产，是古代滇西四大盐井（诺邓井、乔后井、啦鸡井、弥沙井）之一。盐业的兴盛曾使这里盛极一时，盐马古道的通达与多元文化的汇融，使弥井积淀了醇厚的历史文化。是白族先民在开垦山区中留下的珍贵文化遗产。

随着时代的变迁，繁华随悠悠的弥沙河逝去。遗存的盐神母、三圣宫、昭应寺、古戏台等文物古迹，以及农历四月八、“达额勾（农耕表演）”“白族乡戏”等极具特色的山地农耕民俗——这远古的农耕文化传统至今仍在此赓续。那恒古不变的、保存完好的村落格局、白族民居、幽长的古巷，错落的分布在弥沙河两岸，村西的山谷幽深静谧，古树、溪流点缀其间，浑然天人合一。每年三月之初，那环绕着弥井古村盛开的桃花，仿佛就如同深山里的世外桃源。

每年的农历四月八日，以农耕文化节为主题的民俗活动，更是吸引着四乡八里的山里人前往探访——那浓郁的乡土文化气息，那龙飞凤舞的“舞龙、舞狮”表演，那演绎的千古传奇“渔樵耕读”那醇厚的“白族乡戏”，无时无刻无不让人留恋忘返……

弥井，这个深山里的世外桃源，随着乡村振兴战略的稳步推进，其独具特色的自然风光和深厚的历史文化，将成为弥井发展的动力源泉，古老山村正焕发出时代的生机……弥井村的明天，正如当地流行的一句歇后语——“弥井人唱戏，好戏在后头”。 

Mijing is affiliated to Mixin Village Committee, Misha Township, Jianchuan County, Yunnan Province. It is located in the south of Misha Township, east of Mapingguan Natural Village, Shaxi Ancient Town, and south of Qiaohou Town, Eryuan County. There are 106 households with a total of 424 people in this traditional village, which is dominated by Bai people.

Mijing got its name from the discovery and mining of salt here. Since the Tang Dynasty, a special organization for salt production has been set up in Mijing, which later became one of the four major salt wells (Nuodeng Well, Qiaohou Well, Laji Well, and Misha Well) in ancient western Yunnan. The prosperity of the salt industry once drove the local economic and social development. The Salt Horse Road has brought diverse cultures, which blended and accumulated in Yajing, forming its unique history and culture. In the process of reclaiming the mountainous area, the ancestors of the Bai nationality left precious cultural heritage.

Time passes like the Misha River, taking away the prosperity of the past, leaving myths and monuments such as the Goddess of Salt, Sansheng Palace, Zhaoying Temple, and the ancient stage to tell us about that period of history. But some distinctive farming customs and traditions inherited from ancient times, such as the ceremony on the eighth day of the fourth month of the lunar calendar, Da'egou (farming performances), and the Bai Nationality Opera, still continue here. What can still be seen is the unchanging and well-preserved village pattern, Bai folk houses and long ancient alleys, which are scattered on both sides of the Misha River. The valley in the west of the village is deep and quiet, dotted with ancient trees and streams, interpreting the harmony between man and nature. At the beginning of March every year, the ancient Mijing Village is surrounded by peach blossoms in full bloom, like a paradise in the mountains.

Every year on the eighth day of the fourth month of the lunar calendar, folk activities with the theme of farming culture festival attract a large number of surrounding villagers and mountain people. The strong local cultural atmosphere, wonderful dragon and lion dance performances, historical performances of fishing, woodcutters, plowing and reading, and authentic Bai Nationality Opera are so charming that tourists linger and forget to return.

With the steady advancement of the rural revitalization strategy, Mijing, the paradise in the mountains, is turning its unique natural scenery and profound historical culture into a source of power for development.This ancient mountain village is following the tide of the times and bursting with vitality.

"On the stage of the Mijing people, more exciting plots are always on the way." The future of Mijing Village is in line with this popular local saying.

时代的车轮永远不停歇的向前行进。传统的、保守的方式总在慢慢消逝，令人惋惜留恋。现代的、兴起的方式渐渐取而代之，即使让人瞠目咋舌。

前者往往从老年人中拾得岁月痕迹，后者则在青年人中可窥一斑。"风花雪月"，凝结了人世间最风雅与浪漫的景致，是无数人向往与梦想之境。这一美妙词汇落实到地理概念，云南大理当之无愧。它也是中国著名的休闲胜地。

大理的四时美景吸引了来自五湖四海的青年。他们或许来旅行，爱上大理，不肯离去了。他们或许失恋，来大理疗伤，伤愈了，不肯离去了。他们或许刚离职，来大理梳理思路，在大理找到了发展空间，不肯离去了。他们或许是文艺创作者，来大理发现了创作素材，不肯离去了。他们或许是数字游民，游荡在各处生活，只要有网络就能完成工作，大理四季如春，不肯离去了。他们或许是咖啡师、音乐人、戏剧人、舞者等等，来到大理都不肯离去了。他们在大理定居、旅居、度假，形成一个群体，称"新大理人"。

我看到“新大理人”这个群体，产生了拍摄的想法，于是，我留在大理，也成为“新大理人”中的一员。大理有各类丰富的集市，这些集市大都设在农场、庄园，古城、或者废弃的工厂，这是新大理人经常聚集的场所，他们带着在逃离都市前培养的各种技能，在集市上一展伸手，这个时候，他们就转变成了小摊主，售卖自己手工制作的饰物与美食。集市往往在周末两天举行，他们可以用两天摆摊的收益来养活自己其余五天的休闲生活，这完全由自己支配。因为新大理人的到来，而形成了大理市集文化-大理福尼亚歌颂者、内地精英和中国嬉皮士的大理假日景观。他们对新鲜的事物充满盎然兴致，万圣节、圣诞节很适合他们求异的口味，摇摆舞会、假面舞会狂欢的节奏就更让他们乐此不疲，他们打扮得光鲜亮丽，穿梭于节日与舞会之间，以消遣大把的休闲时间，尽管他们往往只住在2-30平米的公寓或出租的民房中。

然而，他们身上少有都市的冷漠和麻木感，也许这正是他们逃离都市的原因。也因为远离故乡根脉，在一个宽松、不设防的人际环境中，他们以艺名、网名来认识彼此，因而少了很多束缚和掩饰，毫无顾忌的暴露个性。

"新大理人"多数(少数养老)就是这么一帮追求自由自我、时尚多元生活方式的青年。他们普遍对生活品质、精神世界的追求高于物质名利的推崇。他们在自已构建的乌托邦姿意的挥洒青春，燃烧激情，张扬个性，享受生活。这是中国新一代人的休闲生活方式，同时，体现出娱乐消费时代的流行。

照片是在新冠疫情第三年拍摄的，尽管全国各地疫情仍然此起彼伏，但对新大理人来说，他们总是把与自己无关的信息置之脑后，仍然过着属于他们的率性洒脱生活。

The wheels of the times keep moving forward. What is lamented and missed is the slowly disappearing traditional and conservative way, and what is astonishing is the rising modern way as an alternative.

The former leaves traces of time on the elderly, while the latter is embracing the young. The wind, flowers, snow and moon represent the ultimate elegance and romance in the world, which countless people yearn for and dream about. Geographically, these terms are well-deservedly represented by Dali, Yunnan, a well-known leisure resort in China. The beauty of Dali throughout the year has attracted young people from all corners of the country. Perhaps they came for a trip, fell in love with Dali, and refused to leave. Perhaps they fell out of love and came to Dali to recuperate, but refused to leave after recovering. Perhaps they just resigned and came to Dali to sort out their ideas, but found opportunities here and refused to leave. Perhaps they are literary and artistic creators who found creative materials in Dali and refused to leave. Maybe they are wandering digital nomads who only rely on the Internet. They settled in Dali, which is spring all year round, and refused to leave. Perhaps they are baristas, musicians, dramatists, dancers, etc. who came to Dali and refused to leave. They settled, lived, and took vacations in Dali, forming a group and calling themselves "new Dali people". 

As a documentary photographer, I was inspired by the group of "new Dali people", so I stayed in Dali and joined them. There are various fairs in Dali, most of which are located in farms, manors, ancient cities, or abandoned factories. “New Dali people” often gather here to showcase the various skills they developed before fleeing the cities. At this time, they would turn into small stall owners, selling their handmade accessories and delicacies. The fair is usually on weekends, and the income on these two days is enough to support new Dali people’s leisure life on the remaining five days, so the time is mostly at their disposal. With the arrival of the “new Dali people”, the Dali market culture and the Dali holiday landscape composed of Dali Fornia singers, inland elites and Chinese hippies have been formed. They are full of interest in new things, so Halloween and Christmas are very suitable for their tastes, and the rhythm of swing balls and masquerade can delight them even more. They travel between festivals and balls in costumes and spend their leisure time there, although they often live in apartments or rented houses of 2-30 m2. 

However, they lack the indifference and numbness of the city, which may be why they fled. In a relaxed and non-threatening interpersonal environment far away from their roots in their hometown, they know each other by their stage names and online names. So they have got rid of many constraints and disguises, and returned to their nature without any scruples.

Most of the new Dali people (a few are pensioners) belong to such a group of young people who pursue freedom, fashion, and diverse lifestyles. They generally pursue the quality of life and spiritual world more than material fame and wealth. In the utopia they built, they sing the praises of youth, burn their passion, show their individuality, and enjoy life. This is the leisure lifestyle of the new generation in China, reflecting the trend of the era of entertainment consumption.  

These photos were taken in the third year of the COVID-19 epidemic. Although there were still occasional outbreaks across the country, for new Dali people, they always put aside information that has nothing to do with them, and still lived their own willful and free and easy life.

我出生在洱海边的一个小渔村，是地道的白族，从小生活在洱海边，耳闻目染，总为白族妇女的服饰搭配有着难以言说的好奇，服饰上的每朵花每根线都隐藏着白族妇女为妇为母的人生折理，那喻意深厚的头饰——把“风花雪月”隐喻其中；那优雅的坎肩，更是把白族妇女的丰盈表露得让人陶醉；那具有民族特色的刺绣围腰，更是寓意了对生活充满期待的美好愿望。

云南，是一个众多少数民族的聚居地区，相互之间生活习俗互为影响，传统文化也在不断的交流中得到了传承，除大理洱海周边的服饰相对差异不大外，其他地区的白族妇女服饰就注入了其他少数民族服饰的元素。尽管服饰色彩丰富多样，但万变不离其宗——扎染、刺绣，以及装束打扮，仍让你一眼就能认出白族妇女服饰独有的魅力。

随着时代的变迁，人们的生活方式也发生了很大改变，一些传统服饰文化也经受着外来文化的影响与冲击，人们的衣着服饰已经更趋于一种全球化的流行消费趋势，传统的少数民族服饰文化更是被视为妨碍历史前行的包袱，弃如敝履。白族服饰也不例外，已不再随处可见只有在大的节庆里人们才会穿，但那些停留在我年少时期脑海里的三人一堆五人一伙围在一起穿着白族服饰带着各自简陋工具的大姐姐和阿娘们有的在做头饰，有的在绣围腰，有的在做醥带，时常还有她们的欢歌笑语那景象是如此的生动，却已一去不复返，多年后已然已成了我内心深处的乡愁……正是基于此，我近年来一直走访于白族聚集区，希望能用影像的方式，记录下白族妇女服饰那让人惊艳的美好记忆。

我们不该等到拥有理想物质生活之时，才蓦然惊醒精神层面上的我们，早已贫瘠得一无所有。

I was born as a member of the Bai nationality near the Erhai Lake. Growing up in a small fishing village, I was fascinated by Bai women's clothing. Every decorative flower and every thread hides the life story of Bai women as wives and mothers; the metaphorical headgears represent wind, flowers, snow and moon; the elegant waistcoats show off the beautiful figures of Bai women; and the embroidered aprons with ethnic characteristics imply good expectations for life.

There are many ethnic minorities living in Yunnan. They influence each other in their living habits and pass on traditional culture through constant exchanges. Except for the more traditional costumes around the Erhai Lake in Dali, the costumes of Bai women in other areas have been added with elements of other ethnic minority costumes. Although the colors of clothing have become increasingly rich and varied, the eternal tie-dye, embroidery and style still highlight the unique charm of Bai women's clothing that is instantly recognizable.

The change of times has changed the way of life, and some traditional clothing cultures are influenced and threatened by foreign cultures. With the globalization of fashion trends in the field of clothing, the traditional clothing culture of ethnic minorities is regarded as hindering social progress and abandoned, and Bai nationality clothing is not immune. Except for grand traditional festivals, these traditional costumes are hard to see. But I still often think of the aunts and sisters in Bai costumes I saw when I was young, sitting around with simple tools to make headdresses, embroidered waistbands, and decorative belts. Their songs and laughter are still in my ears, and their smiles are still so vivid. But the past has passed, and after many years, it has become a nostalgia buried deep in my heart.

Keeping the hometown scenery deep in my heart, I have been visiting the Bai people's gathering areas in recent years, hoping to record the amazing memories of Bai women's clothing with my camera.

We shouldn't wait until we have an ideal material life to suddenly find that we are already barren on the spiritual level.

现在的大多数工作和生活已和传统习俗不相关了，社会的发展，带来新的学习、工作、生活方式，包括各少数民族，也大多过着当代生活，从事现代化工作。其中的白族也都是与时俱进，基本干各种工作的都有，有些在行业内也是很有影响力的。我本人是在重庆长大的白族，成年后来大理才对白族有一些了解，也用相机对一些白族文化、风俗做了一些记录，但在内心对白族情感上觉得还是没有本地白族人深厚。很多摄影师用相机记录、用影像表达少数民族的传统文化，有些现象甚至是即将消失的，这是非常了不起的事情。但人类，包括少数民族文化生活总是在不停变化，也是非常多元的，我做为一个具有白族身份的摄影师，用堆栈合成的方式拍摄了这组照片，每位拍摄对象都是白族，大多是朋友、亲戚，也包括我自己，是想尝试说明现在具有少数民族身份的人，也和大家有一样的生活方式，多元而丰富。也是我自己对自我身份的再次寻找。

Nowadays, with the development of the society reshaped our modern life style of learning, working and living. Most people’s work and life are different with traditional ones, including ethnic minorities. The majority of them have embraced modern life style and worked in the different industries. At the same time, the Bai people are also keeping up with the development of society and has been employed in various jobs.  And some of them are very influential in the industry they worked. As for myself, a member of Bai ethnic group born in Chongqing, I came to Dali after 18 years old and gradually grasp a superficial sense of the Bai by taking photos to record the Bai culture and customs. However, deep in my heart, my attachment to the Bai is not as strong as the local Bai people. Many photographers utilized their cameras to record and express the traditional culture of ethnic minorities. They have managed to record some cultures that is fading a way, which is truly remarkable.  Including the ethnic minority, the culture life of human is constantly evolving and diversified. As a Bai photographer, I took this group of photos by “stacking”. Every individuals in this group of photos are Bai people: my friends, my relatives and myself. Demonstrating this group of photos, I’m trying to present that the ethnic minority groups shared the modern lifestyle like everyone. It is colorful and diverse. It is also the journey of mine to re-explore my identity.

悠悠西洱河，蜿蜒于大理市区腹地的西洱河是这块土地的生命线，与大理人有着不可分割的血脉联系。大理市的这条母亲河，不仅见证了近代城市的发展史， 也孕育了市井百态的烟火气。

人们以西洱河为界，洱河北面叫关迤， 洱河南面叫关外：现在人们又把关迤称北片区， 关外称南片区。河道全长23km，天然落差约610m。

二十岁前几乎没离开过故乡， 毕业后毅然决然回到故乡， 每至西洱海畔，那片土地依旧熟悉。只是越来越多熟识的乡亲离去，后来的新人越来越多的只是陌生， 深深体会到“笑问客从何处来”， 这才意识到家乡真的成了“故乡”。

河是我们生命不可或缺的， 河养育了我们，也流进了我们的血液。质朴的大理人，也因为有了这条河，有了灵性。骨子里不仅仅有了坚韧，也有了柔情。这里有一份独有的宁静、放松与自然，是一个可以让时间慢下来的空间。每走一次，总会有些地方让你想停下来。从白天到黑夜，这里总能带给我惊喜。

有了河，便造就了城市空间， 沿河生长起了丰富的市井生态和自然生态，不论是桥洞下的乐器爱好者、傍晚沿河成群的散步居民、静静坐着的对对情侣、玩耍的大人孩子……还是草丛中出没的小动物、河面上下翩飞的鹭鸟，都是西洱河一个个鲜活的元素。

那些河边的故事、河边的人以及河边生生不息的生灵，一次次打动着我。他们与我，不再是割裂的一个个孤立的个体，于无知无觉中相依相生，在时间和空间的交叠中共同成为西洱河的一部分。

几十年的岁月， 风风雨雨。时间改变了一切， 故乡的容颜，儿时的心境。但河还是那条河， 土地还是那片土地。我心中的故乡一直在那里，丝毫未曾改变。湖边的青草，河畔的垂柳相互诉说着。分不清哪里是湖，哪里是河。只知道那岸边是我的故乡。西洱河，于我而言。有着一种说不清道不明的缘由，总是莫名的吸引着我。

Meandering in the hinterland of Dali, the Xi'er River is the artery of this land and an inseparable part in the lives of Dali people. As the mother river of Dali, it has witnessed the development of the city in modern times and nurtured various lifestyles. With Xi’er River as the boundary, the local people call the area to the north of the river as Guanyi, and the area to the south as Guanwai, which is now known as the north district and the south district. The river is 23km long and has a natural drop of about 610m. I hardly ever left my hometown until I was 20. After graduation, I resolutely came back and set foot on the still-familiar land by the Xi'er Lake. But I gradually witnessed the departure of the folks I knew well, and the newcomers were so strange. Here, I seem to be the stranger who no one knows, and my hometown has become someone else's.  The river that has nourished us is indispensable to our life, as it is rushing through our veins. The simple Dali people are endowed with spirituality by this river, and a touch of tenderness in their tenacity. The unique tranquility, relaxation and nature here open up a space for us to slow down time. From day to night, every step of the way brings me surprises here, and there is always something that attracts me to stop. The river is the cornerstone of urban space, nourishing the rich human settlement ecology and natural ecology on both sides. I saw musical instrument lovers by the bridge, residents walking in groups along the river in the evening, couples sitting quietly, adults and children playing, small animals in the grass, and egrets flying on the river. They are all vivid elements that dot the Xi'er River.  Time and time again, I was moved by the stories, people and tenacious creatures by the river. We are no longer isolated individuals, but are dependent on each other in ignorance and unconsciousness, and together become part of the Xi'er River in the overlapping of time and space. Decades have passed, and the appearance of my hometown and my childhood mood have changed. But the hometown in my heart has always been there, just like the river and the land, without any change. In the whispers of the green grass by the lake and the weeping willows by the river, I can no longer distinguish the lake and the river, but I know that my hometown is on the shore. I am confused why the Xi'er River is so attractive to me, and this may be the reason.